DSpace Collection:http://hdl.handle.net/10174/18512024-03-04T09:00:10Z2024-03-04T09:00:10ZA Quantification of the Rhythmic Qualities of Salience and KinesisLopes, EduardoGonçalves, Andréhttp://hdl.handle.net/10174/93622014-01-08T12:43:05Z2013-07-31T23:00:00ZTitle: A Quantification of the Rhythmic Qualities of Salience and Kinesis
Authors: Lopes, Eduardo; Gonçalves, André
Editors: Cavagnetto, Stefano
Abstract: From a cognitive point of view, it is easily perceived that some music rhythmic structures are able to create saliences (i.e. pulses perceived as louder). Depending where in a metrical grid these salient pulses are located, a sense of stability or instability will arise. When instability is present in a rhythmic structure one will tend to psychological feel kinesis (i.e. a sense of motion). Salience and kinesis can then be identified as basic rhythmic qualities. Inspired by the theoretical construct Just in Time - an empirical based music theoretical construct for the analysis of rhythm - we decided to quantify some of its analytical output; more specifically the measure of salience and kinesis of a rhythmic sequence. We then developed a web-based tool that calculates the amount of salience and kinesis for a particular rhythmic sequence. We conclude this article pointing how this tool can be used in analysis and music education as well as other possible applications, and future research.2013-07-31T23:00:00Z“A MÉTRICA MUSICAL NA PERCEPÇÃO DE MOVIMENTO: o conceito gravitacional”Lopes, Eduardohttp://hdl.handle.net/10174/60022012-11-26T19:03:18Z2006-09-30T23:00:00ZTitle: “A MÉTRICA MUSICAL NA PERCEPÇÃO DE MOVIMENTO: o conceito gravitacional”
Authors: Lopes, Eduardo
Editors: Silva, Soraia
Abstract: Quando ouvimos certas peças musicais temos por vezes a percepção de movimento (cinética): a peça parte de um ponto e dirige-se para outro de uma forma mais lenta ou rápida, ordenada ou desordenadamente. Se bem que não exclusivamente, grande parte da percepção de movimento numa peça musical é da responsabilidade da sua estrutura rítmica – durações sonoras num determinado contexto métrico. Usando como metáfora a hierarquia gravitacional, este artigo propõe uma construção teórica de base empírico/experimental, que explica a função e operação da métrica no processo da percepção de cinética numa peça musical. Para além da importância deste assunto para a comunidade musical em geral, a explicação da operação da cinética na música é também de especial importância para outras artes performativas que interajam com a música, como por exemplo o teatro e a dança.2006-09-30T23:00:00Z“RHYTHM AND METER COMPOSITIONAL TOOLS IN A CHOPIN’S WALTZ”Lopes, Eduardohttp://hdl.handle.net/10174/59982012-11-26T16:43:01Z2008-01-01T00:00:00ZTitle: “RHYTHM AND METER COMPOSITIONAL TOOLS IN A CHOPIN’S WALTZ”
Authors: Lopes, Eduardo
Editors: Illiano, Roberto
Abstract: Many musicians (whether composers, performers, or writers) see rhythm as the most fundamental and indispensable element of music. But paradoxically, the general recognition of the paramount importance of the durational parameters of music (rhythm and meter), ended up working against them: the ‘naturalness’ of rhythm and meter made theorists feel too confident that their own aesthetic preferences reflected the essence of these parameters. The result is the subordinate position attributed to rhythm and meter by traditional music theory, which seeks to understand them in relation to pitch structure. Just in Time: Towards a Theory of Rhythm and Metre1 instead proposes a purely durational approach which assesses the operation and qualities (mainly salience and kinesis) of rhythm and meter, and their interaction with other music parameters.2008-01-01T00:00:00Z“FROM BLUES TO LATIN JUST IN TIME: A rhythmic analysis of ‘Unit Seven’”Lopes, Eduardohttp://hdl.handle.net/10174/59852012-11-26T12:53:33Z2008-01-01T00:00:00ZTitle: “FROM BLUES TO LATIN JUST IN TIME: A rhythmic analysis of ‘Unit Seven’”
Authors: Lopes, Eduardo
Editors: Whyton, Tony
Abstract: Just in Time (Lopes 2003) is an empirically devised rhythmic analytic model which assesses the operation and qualities of rhythm and metre, and their interaction with other parameters. This paper will investigate the operation of the durational parameters in the jazz standard ‘Unit Seven’ by Sam Jones, as performed by the Wes Montgomery Quartet (Verve 823-448-2, 1984). This piece was chosen for two basic reasons. First, its position as mainstream jazz allows an assessment of the rhythmic operation in a highly kinetic genre. Second, it includes a section in binary metre which provides different metric contexts in the same piece, therefore broadening the spectrum of the analysis. The consistent use of particular rhythmic constructions supports the arguments concerning the importance of the durational parameters in the kinetic quality and structural definition of a piece, while the assessment of the ongoing dialogue between pitch and durational parameters demonstrates the importance of the durational structure of music.2008-01-01T00:00:00Z